Objects made during the American and French revolutions celebrated them; almost nothing comparable was made for Haiti. White takes that absence as her starting point and examines what was produced elsewhere about the war in Saint-Domingue. European engravings return obsessively to the burning of Cap Français, casting white colonists as victims and arming black insurgents with axes and torches, while local details of dress and interiors invite German and Swiss viewers to see themselves among the planters. Free men of colour vanish from these images because their shifting alliances ruin a two sided story. Against this she sets Benjamin Rush's proposed painting of a planter, a man of colour and an African legislating together, never executed, and a travelling waxwork of Toussaint Louverture from 1803 that was later remodelled into Othello. Visual and material culture, she concludes, did much of the work of compressing a complex revolution into a race war.